Matt Donato

You’d expect horrors akin to 'Lights Out' given context clues, but 'The Power' examines alternate representations beyond electrical “power” sources.

As blasphemy becomes The Unholy’s weapon of choice, shoddy computerized graphics and short-burst scare tactics never care to sustain terror.

As Warner Brothers' Monsterverse reaches its Godzilla vs Kong showdown, its evident that lessons learned on past Kaiju brawlers influence Adam Wingard's vision.

Michael Nader's 'The Toll' puts a supernatural twist on the horrors of never knowing what secrets your Uber driver might hide.

Little Marvin's 'Them' sees a family encounter hate and demons in 1950s Compton.

Ilya Naishuller’s 'Nobody' pits Bob Odenkirk against the Russian mob for no other reason than a mid-life reclamation arc.

The pleasantly platonic Language Lessons teaches us there’s a massive difference between movies about our current pandemic and movies film under pandemic conditions.

Megan Park’s 'The Fallout' stars Jenna Ortega. as a high school student dealing with the aftermath of a school shooting.

'How It Ends' repurposes an asteroid doomsday event to send a message of not only loving one another, but loving ourselves just as passionately.

Lucy Harvey and Danielle Kummer's 'Alien On Stage' follows an amateur English theater production of 'Alien' from a no-show local opening to the West End's shining spotlights.

Bradley & Pablo's 'Alone Together' is a documentary look into Charli XCX's pandemic life while creating 'How I'm Feeling Now' at a breakneck pace, dating, and supporting her fanbase.

As characters experience in Stacey Gregg's 'Here Before,' insurmountable grief has been guiding many horror-focused narratives over the last few years.

Nick Gillespie’s 'Paul Dood's Deadly Lunch Break' is less about a mass-murdering spree, and more about the bedazzled buffoon livestreaming his incompetent rampage in search of trending online attention.

Todd Stephens' 'Swan Song' is about the life, the influence, and the sharpened sheers of Ohio's local-legend hairstylist Pat Pitsenbarger.

In Phobias, the idea of characters reliving traumas based on spelling-bee fodder blank-a-phobias strives to fake a traditional narrative that screams for singular guidance.

Jerren Lauder's 'Stay Out Of The Attic' is an adequate-at-best interpretation of haunted house horrors as movers accept what might be their last job.

Joe Carnahan's 'Boss Level' exudes the frantic firefight freneticism of gamer fantasies, but doesn't do much else.

Brendan Devane's 'The Canyonlands' pits a rafting trip against an undead spirit of past American sins.

How can 'The Devil Below,' an Appalachian creature-feature about abandoned, always-aflame mining systems, be so unremarkable?

The universality of horror languages means 'The Vigil' will haunt and harrow audiences with or without Yiddish lessons.

Will Wernick’s 'Safer at Home' predicts a pandemic future where the Coronavirus has claimed 250+ million deaths and online socalization is more dangerous than ever.

Courtney Paige's 'The Sinners' is a Catholic school drama that's lacking a sinful bite; more tedious than terrifying.

Jennifer Harrington’s 'Shook' imagines what might happen if a social media star was stalked by a serial puppy slayer.

Kevin Lewis’ 'Willy's Wonderland' somehow fails to capitalize on "Nicolas Cage vs. Evil Themed Restaurant Mascots."

Jane Schoenbrun's 'We're All Going to the World's Fair' is a mix of creepypasta lore, our need to be heard, and the painful weight of isolation.